If you’re a film geek it’s sometimes tough to sit and watch the machine of moviemaking in Hollywood burp out one lousy film after another. It’s not that we want to complain, but it just begins to slowly disturb you and bring up bad feelings. If you’re on Twitter you may rant and rave, make snarky jokes about the troubles you see in these productions. Whether it’s Michael Bay and his upcoming Teenage Mutant Ninja Turtles reboot, James Cameron‘s blue alien fantasy 3D wank-offs or Peter Jackson’s CGI hobbits and elve epics, being honest about these topics is just what we do. As much as it might seem sort of immature alot of times, I do think it actually comes from a place of genuinely caring about the state of cinema and it’s also a reality check when we see these guys going off the deep end into artistic bankruptcy.

One goblet of integrity please.

Recently I got caught up in the discussion about Tim Burton’s latest project: Dark Shadows a re-imagining/homage to the popular 60s/70s TV series about an ancient vampire who lives in a small town estate in New England. I haven’t seen the movie yet and I don’t think I will for awhile (out of respect for myself). Even though I don’t know what the film is like firsthand, I’ve read many reviews and just gauged the general reaction to it both from Burton fanatics and average moviegoers. Most of the time I don’t listen to critics when there’s something I really want to see, I just go to the movie. With other films, I’ll wait and watch what the fans think, Dark Shadows is one of these. I actually had my own reservations about the movie since first hearing about it. Knowing it would be yet another Burton-Depp gothic-horror collaboration, I was immediately skeptical.

For many years now I’ve had troubles with Tim Burton’s oddball ouvre. I think my real interest in his work changed after Ed Wood (1994) his second team up with his muse/pal Johnny Depp. I really love that film (you can read my review here). I think Burton’s earlier work was unique and very entertaining (even Pee Wee’s Big Adventure still rules), but something happened. With each new film he did, the goth aesthetic became overwhelming. It’s like one dark, stormy night Tim made a pact with the imaginary ghost of Uncle Fester (while blasting The Cure and drinking absinthe) and swore to only create movies for pale misunderstood goths from a certain point on. Now I don’t have anything against goths, they seem cool enough (great ‘tudes/hair/clothes), but this theme he and Depp have continuously overindulged in for the past 15 or so years has really begun to wear thin. I understand that he’s obsessed with the outsiders and weirdos (hey, we all are), but his partnership with Depp (which started out as something special) has slowly deteriorated into what seems to be an ongoing personal in-joke between the two, only its clearly not funny anymore, especially to movie audiences. Burton and Depp’s morbidly goofy adventure has clearly run its cinematic course now. We finally understand they are one entity when working together. Burton is channeling his whimsical, eccentric inner child through Depp’s acting genius. Hooray. With all sincerity and because I do think both guys are very talented, I really hope that they can find some way to continue making films, just not these kind.

Have you seen our childhood?

NOTE: I just remembered his next projects are Frankenweenie (ooch!), Beetlejuice 2 (ouch!) and a dark version of Pinnochio? (yikes!). Sorry.

Besides the quest to get the sacred statue back there’s also a sub plot about a man who was originally from the village who over a complete story arc re-discovers his pride for his heritage. The main plot really just serves as a way to move from fight to fight and from chase to chase.

The action is handled extremely well and there is a genuine fight club in the movie which serves little other purpose than to add a few extra fights to the story. The club is visited a few times throughout, and like many great action movies when you are done with a location you destroy it. The final fight consists of the main character taking down three increasingly difficult enemies and the last completely wrecks the entire club. Now that I think about it all of the locations are destroyed after using them for the most part.

The Writer-Director of the film Prachya Pinkaew has a co-starring role and also serves as the comedic relief. He really showcases the action and the awesomeness of the protagonist and there is a chase through some back alleys that represents this fact. The sequence is hilarious as well as awesome, and really shows off the physical prowess and amazing jumping capabilities of Jaa. Something amazing also happens here, it’s so cool that you’ll want to rewind it and watch it again. What’s special is the movie actually beats you to it by using instant replays from various angles and in slow-motion. Sometimes they show the same shot up to 6 times like the movie already knows when something is so good visually that you’ll want to see it again.

This movie was great, yet short on story/plot, but it was, of course, designed to be that way. An action packed martial arts movie that could have started a great franchise. They attempted to do a sequel but it didn’t do so well. I have not seen the 3rd one and I’m not sure that I want to, seeing as the second one was so awful.

FROM THE TARANTINO ARCHIVES: We’ve got a special film geek blast from the past, BBC’s Omnibus documentary on QT entitled: Hollywood’s Boy Wonder. If you haven’t watched this yet, you’re in for a treat!

NOW PLAYING ON THE DEUCE: Are you a fan of classic biker films like The Wild Angels, The Savage Seven and Hells Angels 69? If so, you’ll surely enjoy this in-depth OVERVIEW of the genre at the database.

SPAGHETTI BEST: Terence Hill and Bud Spencer were one of the greatest duos in classic Italian genre cinema. Find out more about them HERE in this spectacular online tribute to their work in film.

FURIOUS PICKS: Nasty creatures from outer space are the main focus of this sci-fi subgenre Top 10 list

FURIOUS VIDEOS: CANNES FILM FESTIVAL FLASHBACK

Room 666. Filmed during the 1982 Cannes Film Festival, Director Wim Wenders set up a camera in a hotel room and asked a varied group of filmmakers (both popular and independent) a single question: “Is cinema a language about to get lost, an art about to die?”. His subjects including: Jean-Luc Godard, Paul Morrissey, Monte Hellman, Susan Seidelman, Rainer Werner Fassbinder, Werner Herzog, Steven Spielberg and Michelangelo Antonioni were each given 11 minutes (one 16mm reel) to answer it. The result is a engaging discussion about the film industry from the points of view of the artists.

FURIOUS PHOTOS
Clint Eastwood as Dirty Harry.

FILMMAKER SPOTLIGHT: SAM PECKINPAH

Man of Iron: This in-depth documentary on the life and work of legendary filmmaker Sam Peckinpah features interviews with many of his closest friends including: Kris Kristofferson, Ali McGraw, R.G. Armstrong, James Coburn and L.Q. Jones. They give us a glimpse into what made Sam tick through his family history, stories on what it was like to work with him, thoughts about his personal demons as well as his rarely seen softer side.

Junior Bonner
The Wild Bunch
POSTER: STRAW DOGS

TRAILERS: Ride The High Country – Major Dundee – The Ballad of Cable Hogue – The Getaway – Bring Me The Head of Alfredo Garcia – Killer Elite – Cross of Iron – Convoy

POSTERS

This spectacular eyecatching HAUSU poster created by Ray Frenden for the Alamo Drafthouse is nothing short of furious! NOTE: If you haven’t seen the film yet and you’re a Japanese cinema afficionado, we highly recommend picking up the Criterion Blu Ray. BUY IT HERE

One of our favorite film genres at FC is CRIME, there are so many excellent movies (everything from from White Heat to Heat) so we’re especially thrilled that the film loving folks at Turner Classic Movies are currently having a month long marathon of TRUE CRIME features. There will be many popular films shown like In Cold Blood, Bonnie and Clyde and Dog Day Afternoon but also many lesser seen gems. So, if you’re a fan like us, make sure to tune in!

FORCE OF EVIL (1948, Dir: Abraham Polonsky): In this classic film noir John Garfield plays Joe Morse a lawyer who works for a gangster named Tucker that wants to control the numbers rackets in New York City. The problem is that Morse’s own brother runs one of the underground operations which naturally creates repercussions between Joe and Tucker. This is a prime example of crackerjack crime thriller cinema at its best. A tense potboiler that’s filled with brilliant cinematography and religious subtext. BUY BLU RAY

ECLIPSE SERIES: UP ALL NIGHT WITH ROBERT DOWNEY SR. When you watch a film by Robert Downey Sr. it’s really an experience like no other. His brand of underground experimental cinema was completely no holds barred and like a Cassavetes or Godard, was wholly unique. The works he crafted were often hilarious, extremely witty commentaries on politics, race and consumer culture. This special Eclipse box set features seminal works like Babo 73, Chafed Elbows, No More Excuses, Two Tons of Turquoise to Taos Tonight. It of course includes his landmark cult hit: Putney Swope, a hysterical satire about the world of advertising. If you love avant garde/arthouse cinema of the 60s and 70s, there’s no doubt you’ll want to have this in your collection. BUY BOX SET

42ND STREET FOREVER For grindhouse fanatics Synapse’s 42nd Street Forever series is simply a must own. These trailer compilations really are like The Deuce transported right into your home. You get a taste of so many cool genres ranging from Horror to Blaxploitation to Martial Arts to Sexploitation and much much more. We’re more than happy about how Volume 1 has been given a release on hi-def. New trailers added to the original edition include: Super Manchu. Chained Heat, Eye of the Cat, Salo, Honky, Flesh Gordon, Antropohgpagous, Act of Vengeance, Fairy Tales, Mark of the Witch. This re-release also features a brand new audio commentary with exploitation film scholars Chris Poggiali, Edwin Samuelson and Michael Gingold, which makes watching these colorful trailers all the more entertaining. Pick up interesting film geek facts that you never knew about and feel like you’re hanging out with friends. BUY BLU RAY

A BULLET FOR THE GENERAL (1966, Dir: Damiano Damiani) You probably know what a spaghetti western is but there’s a subgenre within those that you may not be as familiar with. They’re called Zapata Westerns and are set exclusively during the Mexican Revolution. Other examples include Companeros, The Mercenary and Duck You Sucker. In Damiano Damiani’s A Bullet For the General (aka Quien sabe?) Gian Maria Volonte (Fistful of Dollars, For A Few Dollars More) plays Mexican bandit El Chuncho, who leads a gang of men that rob weapons for federale General Elias. During one of their heists on a train they meet a young American named Tate who surprisingly aids them in their cause. On their adventure, El Chuncho and Tate get along exceptionally well but what the bandito doesnt know is that his new found friend has alterior motives of his own. BUY BLU RAY

MAD AS HELL MOVIE MUSIC One of the creepiest and most memorable film scores of all time is Christopher Komeda’s soundtrack for Rosemarys Baby. The main theme (sung by star Mia Farrow) is an ominous, haunting lullaby that strangely conveys the devilish tone in the film. La La Land Records, Universal Music and Paramount Pictures have recently re-released Komeda’s fantastic score with a Limited Release (3000 copies) available for film music enthusiasts. The 36 track edition includes the ORIGINAL SOUNDTRACK ALBUM, FILM SCORE, SOURCE MUSIC and BONUS TRACKS. It also comes with in-depth liner notes by Scott Bettencourt and John Takis. Movie music fans will definitely want to pick this collector’s edition up! BUY THE CD

Until next time: Stay Furious!

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50 FURIOUS WESTERNS – Episode 2: RIO CONCHOS (1964, Gordon Douglas)

Cast: Stuart Whitman (Capt. Haven), Richard Boone (Lassiter), Tony Franciosa (Rodriguez),  Jim Brown (Sgt. Franklyn), Wende Wagner (Apache girl), Warner Anderson (Col. Wagner), Rodolfo Acosta (Bloodshirt), Edmund O’Brien (Pardee)

One of the surprising things about Rio Conchos, is that it was made in 1964. It has all the intensity and violence of the westerns Hollywood would shoot, half a decade later, in Spain, following the example of the spaghetti westerns. Even the opening scene, a white man cold-bloodedly shooting Indians from a distance, tells us that we’ve entered a new stage in the history of the western: this is a dirty western. Note that the warriors shot from a distance in the opening scene were burying one their own.

Richard Boone plays Jim Lassiter, an ex-Confederate officer who has turned into an Apache killer after  the tribe has tortured his wife and children to death. He’s arrested by the U.S. Army because he’s in possession of a rifle that is part of a cache of U.S. Army rifles, stolen by a group of southern renegades. Their leader, Pardee, wants to continue his war by arming the Apaches. Pardee and his men now live south of the border, and Lassiter is offered a chance to regain his freedom if he’s willing to lead an illegal search party into Mexico. Apart from Lassiter, the only two other members are an officer and his black sergeant. To ‘balance’ the group, Lassiter appoints his own ‘sergeant’, an knife-wielding and womanizing Mexican adventurer called Rodriguez, who was about to be hanged by the Army.

Although Stuart Whitman is top-billed, the film belongs to Richard Boone. He’s the heart and soul of the movie, and the other characters basically take shape in contrast to his tenacious, obsessed Apache killer. Whitman plays the officer who accompanies Lassiter into Mexico. He’s also the one who was responsible for the shipment of weapons in the first place. Like Lassiter he is tenacious, persistent, but while Lassiter is also vigorous and energetic, the captain is a more calculating, even hesitating type of person. Rodriguez (played by Tony Franciosa) is as vigorous as Lassiter, but while Lassiter is loyal to a friend, Rodriguez is selfish. The film also marks former football star Jim Brown’s acting debut. He has only a few lines, but his laidback acting style and monolithic presence are very effective. There’s also a small but pivotal role for Wende Wagner as a woman warrior who understands that the very weapons administered to her people by Pardee, will eventually lead to their downfall.

Rio Conchos bears some resemblance to the 1961 John Wayne vehicle The Comancheros. Two common factors are Stuart Whitman, who appears in both movies, and screenwriter Clair Huffaker, who contributed to both scripts. But the movies were adaptations of different novels, one by Paul Wellman (The Comancheros), the other by Huffaker himself (Guns of Rio Conchos). Another John Wayne western that must have influenced Rio Conchos, is John Ford’s The Searchers. There’s a crucial scene echoing the famous scene in The Searchers, in which Ethan Edwards kills as many buffaloes as possible, so that ‘no Indian will have them’. The corresponding scene in Rio Conchos is far more brutal. When Boone and Brown (the black army sergeant) are watching an Apache warrior burn to death, a laughing Boone yells:

“Let ‘m burn! Let ‘m burn!

But Brown releases the man from his sufferings, and noticing laconically:

“Doin’ like they do, don’t make it right”

Sturdily built, with a rugged face, Boone was the ideal actor to play a man full of hatred, who may explode any minute. He actually explodes when he’s confronted with the Apache chief Bloodshirt (Rodolpho Acosta in a small but essential role), who recognizes him as the famous ‘murderer of his people’. In other words: the men are each others counterparts, direct opponents, but not that different. Bloodshirt is the murderer of Boone’s family, Lassiter is the murderer of Bloodshirt’s people.

Apart from Lassiter the most important character in the movie is Pardee, the renegade Confederate officer, an obsessed man, living in an improvised southern mansion, no more than a façade an a couple of supporting walls. If Bloodshirt was Lassiter’s direct counterpart, Pardee is his reflection in a distorted mirror, laughable in his monomania. It’s likely that Pardee was based on the character Kurtz from Joseph Conrad’s famous novel Heart of Darkness (turned into a Vietnam movie by Francis Ford Coppola as Apocalypse Now). Like Kurtz, Pardee only appears in the final stages of the narrative, but the idea of the renegade in his mansion, is always there, and when Lassiter is finally confronted with him, it becomes clear that the journey has been a sort of purification rite: the man who was slowly turning mad, now looks in the face of utter madness.

Set in the 1940s and 50s, the hard boiled tale focuses on legendary mobster Mickey Cohen (Sean Penn) and the special group of cops assigned to take him down (led by Josh Brolin) and keep the East Coast Mafia out of California. The film features a superb cast of actors like Nick Nolte, Ryan Gosling, Emma Stone, Giovanni Ribisi Robert Patrick, and Michael Pena.

Alright! Sean Penn is back doing what he does best, playing colorful characters with resonance. We can’t wait to see this one on the big screen! It will hit theaters October 19th.

Matthew McConaughey stars as Killer Joe Cooper a deranged Texas police detective who moonlights as a hitman. When a drug dealer named Chris (Emile Hirsch) acrues an outstanding debt to a crime boss he goes to Joe and hires him to kill his mother so he can collect her insurance. Of course this seemingly simple plan turns into something much more complicated and messy.

The movie will be released in U.S. theaters on July 27. Make sure to go see it!

Take a look at the furious trailer for this NC-17 (graphic aberrant content involving violence and sexuality) dark crime-comedy:

“Falling Down” is a self proclaimed “tale of urban reality”, which has a meaning that becomes more clear as you watch. It feels like an epic of the life of William Foster (Michael Douglas) and his decline from normality into the destructive being he is by the end. William Foster is listed in the credits as “D-Fens” which is also the name on the vanity plate of his car. The name has a meaning which is later revealed along with all of the background information of the character. This is good because it leaves him mysterious and much more interesting than it would if they revealed the information earlier on. William Foster is what really pushes the movie towards greatness, and the portrayal by Michael Douglas is one I would really like to know more about.

The movie starts when D-Fens is pretty much at his breaking point but is still retaining shreds of dignity and self respect, as well as shards of his sanity. His car gets stuck in grid-lock traffic after which he freaks out and ends up leaving it and heads off on foot into a very bad part of town. This also introduces the biggest sub-character, Detective Pendergast (Robert Duvall) who heads the investigation on D-Fens.

The first thing he does after ditching his car is goes to use a pay-phone, which he uses to call his (ex) wife (Barbara Hershey) but doesn’t actually say anything because his nerves get to him. After hanging up he wants to call again immediately but doesn’t have the change, so he goes into a shop. The owner will not give him change unless he buys something, so he does, or tries to anyway. Now in the year 2012 the price needs to be adjusted for inflation but the point still gets across. The point is that the soda he wants to buy is over-priced along with everything in the shop. The owner is Korean, and the conversation here is why people believe that D-Fens is actually a racist (I don’t think that is racist but just extremely patriotic). He doesn’t have a problem with the guy because he is Asian but because he feels the man has come to his country and not even bothered to learn English. After destroying the shop the man says “just take it, take whatever you want!” and D-Fens is extremely offended by this. “I’m not a thief, is that what you think I am?” he says before paying for his soda and leaving. He has a code of morals and stealing is against them. He is actually a man who really values them. Stealing is bad in his book but destroying the man’s shop is okay because he feels it is deserved for how he is treated. As the movie progresses he starts using violence more and more to solve his problems because he see’s how easy it really is, and it pisses him off that he has worked so hard his whole life and not accomplished something or been recognized for his achievements when he could have just been doing things the easy way all along and maybe ended up better off.

D-Fens has a small suitcase with him as he walks through the streets and the case plays two key roles in establishing his character 1): Men try to take it and he won’t have it. He stands up for himself and ends up beating them back and leaves with it and one of their knives which I will mention again shortly. He almost gets killed trying to keep the briefcase and he is well aware of what will happen to him if he doesn’t give it to them. This makes you very interested to know what is inside the case. 2): The briefcase helps develop his character. He later gives it to a bum saying “I don’t need it anymore” but when the bum opens the case it only contains a sandwich and an apple. Now I believe this means two things. The first is to show how the case itself wasn’t what he was trying to preserve, it was the idea behind it. It wouldn’t matter whether the case was empty or whether it contained a million dollars, he would defend it the same for the principles behind it. The second thing that this establishes comes from the line where he says “I don’t need it anymore.” I think the briefcase in a way represents what is left of his humanity or perhaps normality. He later obtains a bag of guns while leaving the suitcase behind. He has started to show how he has passed the point of no return and that he has traded his old lifestyle choices for his new found attitude. He also changes his clothes into an old army jumpsuit and his glasses get broken. By this point he has completely changed, he doesn’t even look the same as he did in the beginning. Where he first looked extremely out of place in geeky glasses and a white shirt and tie, now he has transformed into what he finds is actually more rewarding.

D-Fens has a very interesting progression, even down to the terms of his weapons. He begins with nothing then takes a baseball bat. Next he takes a butterfly knife from some gang members, then a large gym bag full of guns, and later he even finds a rocket launcher. This complimented his personal transformation into the being he is by the end of the film. Things that push him to violence become smaller and more insignificant as he becomes more complacent with his violent actions. I think the writer really used little things that piss him off to use as things that push D-Fens to violence. Most things that push him are things that we deal with everyday but he just wont take it anymore. He’s done putting up with it and now he’s making them pay for it. Little issues people have with everyday life such as gang occupation, plastic surgeons being more wealthy than people more deserving, unnecessary construction projects just to meet the budget, he even pulls a gun out in a Whammy Burger because they won’t serve him breakfast. The situation escalates when false advertising makes its way into the standoff. He even ends up deciding that he doesn’t really even want breakfast after holding a gun to the manager because of breakfast in the first place, again showing how it isn’t really the act that angers him it’s the methods behind it. False advertising is because of the burger he gets is flat and compares it to the picture while trying to have a somewhat casual conversation he has put in danger in the restaurant, even talking to a little kid asking him questions. In the same scene is another important character development moment. He is supposed to be an average guy pushed too far, and an average guy isn’t an action hero or an expert with guns. In the restaurant he accidentally fires the gun into the ceiling which really adds realism and reminds you of the “average guy” element. A similar moment happens later with the rocket launcher. He has a kid show him how to use it (and he still does it wrong). From the beginning he doesn’t look for trouble, it finds him and he tries to avoid conflict while being completely willing to follow through at the same time. He has an extreme temper and when his anger builds up enough, that’s when he goes berserk.

Realism is very important in this story and without a powerful sense of it, the film wouldn’t be half as good. It’s a good thing the realism factor is handled extremely well. The movie has many far away helicopter shots where the character of D-Fens blends right into the crowds. There are so many pedestrians and random civilians all over the place it really makes the situations more intense and realistic. All the colors are very vivid and bright which is in sharp contrast to the dark tone of the movie. Pedestrians get caught in the way of all the violence; people on the street get shot in drive bys, D-Fens terrorizes a golf course and almost uses a family as hostages without realizing it. When he does eventually realize he is mad at himself because he hurt a little girl by accident. Speaking of little girls, his own daughter is what puts him on his self-destructive journey. Throughout the movie he is trying to get to her birthday party, and people just keep getting in his way. A darker reality later surfaces with his family making him seem a little bit less of an average guy and more twisted than we’re previously led to believe.

The movie ends with a confrontation between the characters played by Robert Duvall and Michael Douglas. Douglas delivers his line “I’m the bad guy?” as he finally comes to terms with the fact that he is doing bad things. The entire time he thought what he was doing was justified and the right thing. Upon this realization D-Fens makes the cop kill him by pulling a fake toy gun and gets shot. The ending is great, he is shot, breaks the railing and bounces back up to his feet to deliver one last line before falling over to his assumed death, but he is most likely dead, which is the most appropriate ending possible.

As noted above, the story arc of D-Fens is similar to that of Tony Montana in the movie Scarface. Both characters have a rise and fall ending in their deaths. Each get corrupted in a sense and to a different extent hate themselves for what they have become. Neither start off as particularly good people but they grow significantly worse throughout the films.

Falling Down is a fantastic movie that deserves more recognition than it has. The following of the movie is small enough to have it now be known as a cult classic. It really is extremely underrated. It’s very deep but even without analyzing it and seeing the deeper meanings, I think the movie would still be enjoyable but to a lesser extent. I think the main message is that life isn’t fair but you have to deal with it, lose your cool and your world will come crashing down around you.

Personally, I love political thrillers and the cast is just awesome, so I’m in on this one. Also, Good Night and Good Luck scribes George Clooney and Grant Heslov are the producers, so that’s yet another reason to trust this will be a gem.

Check out the new trailer

MAD AS HELL MOVIE MUSIC:

Repo Man (Main Theme) by Iggy Pop

FROM THE TARANTINO ARCHIVES: Quentin is a huge fan of classic Phillipino exploitation cinema and we’ve got a fun interview he did back when Death Proof came out that explains all about it. Click Here and enjoy!

NOW PLAYING ON THE DEUCE: Hey paisan! We’ve got one helluva Mafia B-movie double feature for ya: Death Collector aka Family Enforcer and Massacre Mafia Style aka The Executioner. Don’t be a mook, do what’s right, read the reviews.

SPAGHETTI BEST: You might best know him from movies like Repo Man and Straight To Hell, but Director Alex Cox also happens to be a longtime fan and expert on spaghetti westerns. Take a look at his book on the genre and personal favorite spaghetti list!

FURIOUS PICKS: Seb pays tribute to one of his favorite auteurs, the Dutch Master of Movies: Paul Verhoeven

FURIOUS FAREWELL

We were stunned and saddened to learn that Adam Yauch (1964-2012) aka MCA of the pioneering hip hop group The Beastie Boys passed away May 4th. Not only was Adam a tremendous musician/rapper but he also directed Beastie videos such as “So Whatcha Want”, “Intergalactic”, “Ch-Check It Out” as well as feature films and produced documentaries for his Oscilloscope Laboratories studio. The clip above is from his Beastie Boys concert film “Awesome I Fuckin Shot That!”. We can’t express how sorry we are MCA is gone. He will be missed very much.

FURIOUS PHOTOS

Peter Weller and Director Paul Verhoeven on the set of Robocop

FURIOUS VIDEO

Adam Roarke was one of the coolest exploitation film stars of the 60s and 70s. He first gained notice in biker movies such as Hells Angels on Wheels, Hell’s Belles, The Savage Seven and The Losers. He also played parts in b-movie favorites like Frogs and Dirty Mary Crazy Larry. Here’s PART 1 of an enjoyable rare interview he did for KTLA where he speaks at length about his experiences in movies and views on acting.

FILMMAKER SPOTLIGHT: MARTIN SCORSESE

Party scene montage from Who’s That Knocking At My Door? (1967)

Mean Streets
Taxi Driver (Berlinale Restoration – Blu Ray Review)
Raging Bull
The Color of Money
GoodFellas
Gangs of New York
The Departed

Winnebago Man (2009, Dir: Ben Steinbauer) A hysterical documentary about a man named Jack Rebney, who was featured in a 1989 motor home sales video in which he burst into profane rantings after making errors. Years later these outtake clips were discovered and became an internet sensation. Filmmaker Steinbauer tracks Rebney down and spends time getting to know him. He also examines why we as viewers are so interested in videos where people are humiliated or make spectacles of themselves.

Adaptation (2002, Dir: Spike Jonze): In this follow up to Spike Jonze and Charlie Kaufman’s Being John Malkovich we are taken on another enthralling journey this time into screenwriter Kaufman’s own life. Charlie (Nicolas Cage) and his twin brother Donald (also Cage) are two very different personalities. Charlie is introverted and unsure of himself while Donald is an affable happy go lucky guy. The two are both working on screenplays and Donald seems to breeze through his, but the tortured Charlie is stuck on The Orchid Thief, a new script based on a story by journalist Susan Orlean (Meryl Streep) about a flower poacher named John LaRoche (Chris Cooper). If you loved the bizarre trip that was Being John Malkovich, you’ll definitely enjoy this movie which features a very funny, touching performance by nouveau shamanic actor extraordinaire Nicolas Cage.

High Anxiety (1977, Dir: Mel Brooks) Mel Brooks plays Dr. Richard Thorndyke, who is hired as the new administrator of a psycho neurotic institute. Thorndyke is later framed for murder and tries to prove his innocence while facing his own troubling anxiety disorder. This screwball homage to the Master of Suspense, Alfred Hitchcock (as well as other films like Antonioni’s Blow Up) is filled with sidesplitting laughs from start to finish. Co-starring Madeline Kahn, Harvey Korman, Dick Van Patten, Cloris Leachman, Barry Levinson.

Drugstore Cowboy (1989, Dir: Gus Van Sant) Based on an autobiographical story by James Fogle, Matt Dillon and Kelly Lynch star in this comical yet nihilistic look at a group of friends who are medicinal drug junkies in the early 70s. They come up with different schemes to rob hospitals and drug stores as they live on the edge and get high. Look for a cameo by author William S. Burroughs. Co-starring Heather Graham, James Le Gros, James Remar, Max Perlich.

The Entity (1983, Dir: Sidney J. Furie) Based on a true story, Barbara Hershey stars as Carla Moran, a single mother who is terrorized by an unseen poltergeist in her home. The suspense is heightened as the violent invisible attacks occur randomly. Carla’s only chance at removing this threat from her life is getting help from a group of paranormal scientists. It’s a cult classic that supernatural horror film fans will want to add to their Blu collections! Co-starring Ron Silver. BUY BLU RAY

Full Metal Jacket (1987, Dir: Stanley Kubrick) A movie that portrays the insanity of war in two parts. The first half is the boot camp experience and the wrath of a sadistic drill seargent (R. Lee Ermey) on his men including Pvt.”Joker” (Matthew Modine) and an overweight oaf named Leonard aka Pvt. “Pyle” (Vincent D’Onfrio). The second half is the foreign wartorn setting of Vietnam where Joker and his fellow soldiers are thrown into a hellish fight for survival. A thoroughly enthralling masterpiece from one of the greatest filmmakers. BUY BLU RAY

Invasion of the Body Snatchers (1956, Dir: Don Siegel) – One of the best and earliest alien invasion movies focuses on a small town that is overrun with vegetable like pods which contain clones of the citizens. Only one man (Kevin McCarthy) knows the alien’s secret plan to colonize the Earth and must warn others of the impending doom. His main problem is figuring out who’s a pod person and who’s not! A classic sci-fi, edge of your seat thriller. Look for a cameo from Siegel protege and future director Sam Peckinpah. BUY BLU RAY

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INTRODUCTION

Lets face it, super hero movies are some of the most difficult types to pull off with completely satisfying results. Its ALWAYS about the good guys vs. the bad guys. What filmmakers must do is find something fresh and interesting within that rigid structure. There have been a few in the genre that geeks will usually pick out as examples that stand above the rest like Superman or The Dark Knight (although hes not a superhuman)but there’s not that many that take things to a whole new level and break completely out of the comic book film box. For the long awaited Marvel Universe epic crossover The Avengers there was no doubt the producers had to up the ante in every way and craft a super smart screenplay with a big enough threat to cause a reason for the heroes to combine their strengths. Add to that cutting edge SFX and most importantly a believable chemistry between all the actors that was natural and felt honest to the story.

REVIEW

The Avengers picks up after S.H.I.E.L.D. has obtained the Tesseract (aka Cosmic Cube) an extremely powerful object (originally from Asgard) which was first used by the enigmatic Nazi officer/HYDRA leader Red Skull (in Captain America: The First Avenger) during World War II but lost during a large battle. As Nick Fury, Dr. Erik Selvig (Stellan Skarsgard) work on sustaining its power in the research facility, the Tessreract suddenly opens a portal and Loki (Tom Hiddleston) appears. We learn that after being cast out of Asgard, the God of Mischief has been journeying through the alternate universe and has seen things we’ll never know (much like Roy Batty in Blade Runner). Loki now needs the Tesseract for his own plan to take over Earth, a place he knows he can rule, and he’s got some unruly friends known as the Chitauri (an alternate version of the Skrulls) to help him if he can steal it. What S.H.I.E.L.D. didn’t plan on was that Loki would use two of their own team to help him with this task. Agent Clint Barton aka Hawkeye (Jeremy Renner) and Dr. Erik Selvig are instantly possessed through a mind control power in Loki’s mystical staff to help him escape. In the process S.H.I.E.L.D. headquarters is completely destroyed leaving Nick Fury and the survivors desperate for help.

Fury goes to the only people who can realistically come to the Earth’s rescue: Tony Stark aka Iron Man (Robert Downey Jr), Natasha Romanov aka Black Widow (Scarlett Johansson) Steve Rogers aka Captain America (Chris Evans) and Dr. Bruce Banner aka The Hulk (Mark Ruffalo). Banner isn’t chosen because of his mean green alter-ego, but because he’s the man who can best get a bead on The Tesseract since he is an expert on gamma radiation, which the cube emits. As calmly as possible, the group are brought together to try to track Loki down and get the Tesseract back in safe hands. Their initial meeting takes place on S.H.I.E.L.D.’s Hellcarrier, an awesome aircraft carrier that can fly. It also has a stealth mode where it can be turned invisible. The group of misfit marvels are like unstable chemical elements thrown together in a pot. While Captain America is an outsider, Stark and Banner manage to get along pretty well since both are geniuses in their respective fields. There’s some really funny moments as the guys get to know each other too.

While on his own mission to obtain Iridium (a rare element to stabilize the Tesseract) Loki tries to wield his ungodly power in Stuttgart, Germany (of all places). Loki puts on a bit of a Hitler act but he is soon confronted by none other than Captain America (who never did like evil dictators) and soon Iron Man shows up to help kick Loki’s disreputable ass. Following a brief smackdown, the two heroes capture Loki to bring him back to The Hellcarrier but still aren’t able to track the Tesseract. As if they needed more trouble, Thor arrives out of the sky looking for his half brother Loki, but when he tries to take him from Iron Man and Cap, they end up having a small disagreement. This leads to an amazingly cool vibranium-ringing face-off on a mountaintop (perfect spot for these three god-like beings). Following this, Loki is secured in a special super cell inside The Hellcarrier. The group later discover (thanks to Tony’s keen observations) that retrieving the Tesseract isn’t only to save it from Loki, but for another purpose that has been hidden from them by their superior Nick Fury and S.H.I.E.L.D..

Without anyone to lead them, Hawkeye and several of Loki’s soldiers ambush the Hellcarrier to break him out, knocking out its huge rotating jet engines in the process (which keep it airbourne). Captain America and Iron Man are left to try to fix it while Bruce Banner transforms into The Hulk and attacks Black Widow showing her just why he likes being left alone. Loki then uses his old hologram trick to get Thor into the special containment unit he was locked in and quickly drops it out of the sky sending The God of Thunder hurtling towards his death. A raging Hulk jumps onto a jet sent to shoot him and is thrown out of the sky. During the big melee, Hawkeye is knocked unconscious but upon awaking he finds he is free of Loki’s mind control.

After getting out of S.H.I.E.L.D.’s confines, Loki reveals his impending attack will be where everyone can see it, of course he chooses the metropolis that represents international freedom: New York City. He even pays a visit to Tony Stark beforehand to let him know about the fight ahead of him and that there’s nothing he can do to stop it. Dr. Selvig (who is still under Loki’s mind control) opens the Tesseract portal on top of the new Stark Building (just to drive it in a little deeper) and the waiting Chitauri begin to fill the blue sky like intergalactic locusts. The cityscape decimating, mind blowing finale has The Avengers taking on the strange reptilian alien warriors and their gargantuan snake-like creatures that fly through the urban jungle destroying everything in their path. When it comes to epic super battles, this has got to be one of the greatest I’ve seen in a modern sci-fi/action movie. It featured moments that had me clapping, laughing and cheering.

ACTOR REVIEWS:

Mark Ruffalo as Bruce Banner/The Hulk: I was a fan of his before, but when I saw his new take on Banner I was just rooting for him all the way. He brought such a complexity and depth to this embattled character even though he wasn’t even the main focus. Basically he was playing acting hockey and every time he was passed the puck, he scored. Also, this version of The Hulk is hands down the best on the big screen. I think having Ruffalo play the Hulk himself through the CGI FX was a very smart choice as well. Hulk is one of the most entertaining things to watch in Avengers and he truly brought the house down in more ways than one!

Robert Downey Jr as Tony Stark/Iron Man: When ol Ironsides shows up in the film, it just brings a smile to your face. It’s the cool, funny characterization Downey has created in the earlier films, mixed with a technical brilliance and Iron Man’s bombastic fighting style that’s always a thrill to watch. Stark’s own journey in Avengers from start to finish is special, he takes the term “hero” to its zenith here.

Chris Evans as Steve Rogers/Captain America: I loved the progression of his character in this movie. When we first meet him he is very uncomfortable, a real fish out of water and seems like only when he’s suited up as Cap does he know his place in this strange new world. When he’s in civilian life, it’s just awkward time. By the end of the movie Steve begins to get his bearing and he finally becomes the leader he is supposed to be within the group.

Chris Hemsworth as Thor: Another solid performance as the Asgardian asskicker. His scenes with The Hulk are some of the best in the film.

Scarlett Johanson as Black Widow and Jeremy Renner as Hawkeye: Black Widow is easily the sexiest female hero to grace the movie screen in awhile. I see her and Hawkeye as S.H.I.E.L.D.’s spy version of the Wonder Twins. They really belong together as a mini team since they can do some harsh work on enemies even though they only have human physical abilities (albeit extraordinary).

Samuel L. Jackson as Nick Fury: Sam plays Fury as basically Shaft meets A-Team’s Hannibal Smith but in the Marvel Universe. He’s excellent as the fierce, determined yet uncharacteristically vulnerable leader.

Clark Gregg as Agent Phil Coulson: After seeing him in the Avengers prequels, I’ve grown to really like this character alot. He has one of the coolest moments in this movie and brought everything screeching to a stop.

Last but not least is Tom Hiddleston as Loki. He really brings so much menace, showing through his outstanding Iago like performance that Loki has now become completely and utterly evil. He’s very much another spin on Darth Vader in Star Wars. Like Vader, he is a supreme baddie, but with Hiddleston’s portrayal, you almost wish he’ll become good again the way he plays it, but when he doesn’t that’s ok too.

FINAL WORD: From the first time I heard there would be an Avengers film (and as a Marvel Comics geek since a young age) I felt like it had to be about them earning their lofty status both onscreen and in the pantheon of super hero cinema itself. Sure these characters are all cool and fun to watch do their things separately, but there had to be something much bigger at stake to bring them together even when they were at odds with each other. Joss also had to juggle all the intricate comic book details, bringing the fantastic alternate universe to reality and deliver it in one grandiose package without error. Marvelously, with equal amounts of grace and pinache, wit and humor, spectacle and daring, Joss Whedon & Co were able to achieve that…..I can’t wait to see AVENGERS 2!!

Now it’s time to go get some shawarma ;)

The main premise of the story is that of the vigilante. Vigilante movies are sort of their own sub-category. Other vigilante movies are ones like the Death Wish series starring Charles Bronson. A vigilante movie is any movie where someone takes the law into their own hands to avenge a crime, usually killing the perpetrator. Many superhero movies are also vigilante. The Dirty Harry series is on the border of a vigilante movie, it is usually considered to be, but that is beside the point.

The question is, can Harry Brown separate itself from all the crappy vigilante movies that come out? The answer is yes. What separates “Harry Brown” from all the others is it’s depiction of violence. There are other key differences like the fact that he is an old man, and he is killing fairly young people.

The opening of the movie shows a shaky cam of two guys on bikes. One is filming with a little camera. They are riding dirt bikes, and when they start shooting guns in a crowded park, the sense of realism really hits you. The one holding the camera is the one shooting, and he’s shooting at a mother with a child. After a few shots he shoots her in the head, then rides away and gets hit by a truck. There is no music during this part which again makes it seem more real, there’s silence, extremely loud gunshots, screaming and engines. The shaky cam and other small details make the scene seem very real.

One thing I noticed was how when she is shot you just barely see what happens; you see blood spray, and her head rips open. But you only see it as its leaving the screen and then comes back into frame. This makes much more shocking and somewhat horrifying, to an extent. The realism of the scene is intense. When I saw this movie people screamed at this point, and then went silent in disbelief. That is good filmmaking. Making an audience gag and feel disgusted is no real accomplishment, but a gasp of disbelief IS an accomplishment.

The directing is very good and the movie’s dialogue is very quiet, and polar opposite, all the gunshots or other noises are extremely loud. When a gun fires, you feel it. A bullet will tear right through someone and knock a TV out of the wall, and stop by blowing a hole through a wall. The movie prides itself on realism. Another scene that sticks out, which I think is the highlight of the movie, is where he goes to buy a gun from these two creepy guys. There is an insane amount of tension that just builds and builds. Great filmmaking! It builds until the point where one of the guys has his gun in his mouth using it as a bong, and then Harry takes them out.

The depiction of violence is what separates this movie from others. This also makes the film more than just an okay. It’s realistic with gritty intense violence, great sound design, and directing which all make the movie so much more. My rating: 8/10.

50 FURIOUS WESTERNS – Episode 1: SHANE (1953, George Stevens)

“Do you remember Dick Tracy, Do you remember Shane?”

This is a line from ‘The Pros and Cons of Hitch-Hiking’, a song by Roger Waters, of Pink Floyd fame. To Waters, and many others, Shane is a dear childhood memory, to be cherished a life long. Shane tells the story of a boy’s adoration for a mysterious stranger who comes to the aid of his family, the Starrets, small farmers who have settled in a valley, way out West. They’re menaced by a rancher called Ryker, who wants to chase the newcomers. Ryker tries to break the farmers’ resistance by hiring a professional killer, Wilson, who sets an example by provoking an older man to a ‘fair’ duel. Stimulated by Shane, Starret organizes the farmers in their struggle for survival, but it’s of course Shane who faces Wilson in a final duel.

Shane is idolized by the boy Joey, who doesn’t understand what effect the stranger has on his immediate surroundings. When Shane rides off into the proverbial sunset, Joey runs after him, shouting his name, begging him to stay. He seems to realize that his mother loves the stranger, but not what the consequences of her affections are. Shane was based on a short novel by Jack Schaefer. The novel is not a great work of art, but it works rather well, thanks to the literal trick to make us readers understand the events better than the person telling them. It’s a first-person narrative, told by the boy Joey. We see the events through his eyes, but read different things into them. First person narratives are always difficult to translate to film, and this novel turned out to be particularly difficult. In it Shane and his opponent Wilson, the gunslinger hired by Ryker, are both described as menacing and mysterious persons. We understand much better than Joey that that his past has been brutal and that he is a violent man too. Shane and Wilson are almost interchangeable characters: they have the same ability and readiness to kill if necessary. What makes Shane ‘good’ and Wilson ‘bad’, is Shane’s decision to side with the weaker party, the farmers.

In the film things are very different: instead of dark and menacing, Shane is all buckskin and goldilocks. And although Alan Ladd turns in a good performance, some have suggested that Montgomery Clift, director Stevens first choice for the part, would have been a better Shane. Still, there are moments that a glimpse can be spotted from the complex character suggested by the original story. Take, for instance, a close look at these scenes: Shane reaching for his gun and turning around when he hears the sound of someone loading a gun behind him, his horror when he notices it was the boy…Shane and Wilson silently examining each other, judging each other’s skills…Shane telling Starret that he might be a match for Ryker, but certainly not for Wilson…

The story of Shane alludes to a specific historical background, the Johnson County War of 1892, in which the big ranchers, still believing in free grazing, tried to chase the fast growing number of small farmers limiting their possibilities. It’s often seen as a pivotal moment in American history, marking the transition from an anarchic state to a democracy in the making. The film never tries to be a history lesson but still director Stevens manages to evoke some of the horror and fear this violent conflict must have provoked among the small farmers, who were constantly under the threat of being killed if they didn’t move to somewhere else. Fistfights really seem painful and bloody events here, and Elisha Cook’s backward jump when he’s hit by Wilson’s bullet, was a very daring shot at realism, considering the time of making. Actually, Shane is quite violent for a fifties western and the action scenes – two elaborated fistfights and the final shoot-out – are among the best ever filmed.

With Alan Ladd as the proverbial guardian angel and Jack Palance as the evil incarnate, Shane became the blueprint for numerous westerns about the lone gunman coming to the aid of defenceless people. Ladd’s buckskin and Palance’s black gloves (and sadistic smile) became recurring elements within the genre. The mud covered streets of the little western town, and Loyal Griggs breathtakingly beautiful (and Oscar winning) cinematography of the Wyoming landscape, were equally important for the way the genre would look like in the future as John Ford’s glorification of Monument Valley. And once you’ve heard his name echoing through the valley, you’ll never forget the name of

“Shane!…”

This trailer opens with a downbeat, ominous Eyes Wide Shut mood that steadily builds to a roaring Bane themed finale. We get to see more of Batman, Catwoman and Joseph Gordon-Levitt as John Blake too. Love the final exchange between Catwoman and Batman as they take off in The Batwing! Simply can’t wait!

The Dark Knight Rises opens in theaters July 20

MAD AS HELL MOVIE MUSIC: Strawberry Alarm Clock – Girl From the City (from the film Beyond the Valley of the Dolls)

FROM THE TARANTINO ARCHIVES: Seb takes a closer look at the 1992 indie film Eddie Presley starring Duane Whitaker (Pulp Fiction).
NOW PLAYING ON THE DEUCE: Russ Meyer’s 1970 cult masterpiece: Beyond The Valley of The Dolls
SPAGHETTI BEST: We’ve got a Fistful of Film Reviews for: Heads or Tails – Pecos Cleans Up – Roy Colt and Winchester Jack and A Reason To Live, A Reason To Die
FURIOUS PICKS: Seb lists several of his favorite Special Forces subgenre action classics!

FURIOUS PHOTOS

Ridley Scott and Harrison Ford on the set of Blade Runner.

FILMMAKER SPOTLIGHT: BRIAN DEPALMA

A lesson in suspense: The Bucket of Blood sequence from Carrie.

Sisters
Carrie
Blow Out
The Fury
Dressed To Kill
Scarface
Carlito’s Way
Mission Impossible

Animal Factory – Steve Buscemi directed this film based on a book by Eddie Bunker (Straight Time, Runaway Train, Reservoir Dogs) about a young criminal (Edward Furlong) who is thrown into the very dangerous world of prison life. Luckily, he gets a break when a veteran of the system (Willem Dafoe) befriends him. A very realistic portrait of what it’s like living in a predatory environment where you only get by on your wits. Look for an almost unrecognizable Mickey Rourke as a very flamboyant fellow prisoner. Co-starring Danny Trejo.

The Way – Emilio Estevez (Men At Work, Bobby) wrote and directed this moving tale about a man named Tom Avery (Martin Sheen) whose son Daniel (Estevez) is tragically killed while walking the Camino de Santiago in Spain. Tom decides to finish the adventure Daniel started and brings his ashes with him to scatter in different places on the trail. Along the way Tom meets up with some fellow “pilgrims” each of whom are searching for some kind of inspiration to help mend their tattered lives.

At CinemaCon last week, Director Martin Scorsese (one of our favorite filmmakers) stated he would’ve made Taxi Driver and Raging Bull in 3-D. Wow! Can you imagine what those films would’ve been like in that format? Jake LaMotta throwing punches at YOU as he beats his wife and brother! Travis Bickle’s gun coming out of the screen! With all sincerity, we have made our case against 3-D already and know that most of our fellow film geeks aren’t fans either, so it will be quite interesting to see where Mr. Scorsese takes this format, especially in his non-fantasy films. The Wolf of Wall Street is his next project, so I guess we should get ready for some 3-D stockbrocking sequences? The real problem we have right now is the three-dimensional experience still hasn’t convinced viewers it’s the way of the future or that it’s better than viewing a two dimensional movie. Until there’s some kind of undeniable breakthrough I really don’t think people will jump onboard. There’s also the aspect of paying more to get a headache from watching these movies. Our view is that Hollywood seriously needs to solve these problems and then we’ll re-evaluate our stance. Until that day consider us ANTI-3D.

Filmmaker Peter Jackson debuted some footage from his new film “The Hobbit” recently. The big hullabaloo was that it was shown at 48 frames per second vs. the normal 24 (OMG!). Audiences seemed to be split in their reactions. Some said it looked like an episode of Masterpiece Theater, others loved it because it seemed so real it seemed fake. We should state that we at Furious Cinema don’t like dirty elves, hobbits or trolls. So that’s one problem, the other is we don’t care what speed a movie is shown at. We do care about how good the movie is quality wise (as do most people paying 15 bucks a pop). Most of us have learned that no matter how many gimmicks a film has (CGI, 3D, Stink-O-Vision etc), at the end of the day it won’t erase or improve the flaws. It’s becoming more obvious that these “advances in technology” aren’t anything except a crafty way to get audiences to pay more while delivering JACK during the film experience. James Cameron, Peter Jackson and Michael Bay don’t need anymore of our money, they just need to make good movies (and no, I’m not talking about King Kong, Avatar or Transformers).

Barbarella – A young Jane Fonda plays the sexiest space adventurer ever to explore the galaxy in this 1968 Roger Vadim cult classic. A very trippy sci-fi excursion with amazing costumes and set designs. Co-starring John Phillip Law. FC’s Sebastian loves it because it totally captures the artistic spirit of the time. It is absolutely non-explicit even though Fonda screws herself through space, and it is incredibly psychedelic and atmospheric. BUY BLU RAY

Roadracers – After his debut film El Mariachi (1992) but before his first big hit Desperado (1995), Robert Rodriguez directed this high octane Made for Cable movie starring David Arquette as Dude Delaney an aspiring rockabilly musician who dreams of leaving his small town for the big city. Dude seems to be a magnet for trouble and his girlfriend (Salma Hayek) and best friend (John Hawkes) tag along on his adventures. He must also deal with the town sheriff (William Sadler) who is out to get him. This movie was featured as part of Rebel Highway, a Showtime series inspired by the B-movies of the 50s and 60s. It was produced by the son and daughter of exploitation film king: Samuel Z. Arkoff of American International Pictures. Other filmmakers who contributed to the series were Joe Dante, William Friedkin and Ralph Bakshi. Rodriguez aficionados will no doubt want to add this to their hi-def home video collections. BUY BLU RAY

Jeremiah Johnson “Watch your top knot!” – Robert Redford plays a Mexican-American War veteran who decides to become a mountain man in the dangerous, uncivilized Colorado territory of the 1800s. On his travels trapping and living off the land he meets several different friends and foes as he tries to survive in the wild. A highly entertaining classic movie masterpiece from the late director Sydney Pollack. Co-starring Stefan Gierasch, Delle Bolton, Paul Benedict and Jack Colvin. BUY BLU RAY

Down by Law - In this 1986 Jim Jarmusch indie comedy classic, three strangers (Tom Waits, Roberto Benigni and John Lurie) from different backgrounds are arrested and thrown in a New Orleans prison together. They later escape and go on an adventure together through the murky bayous of Louisiana country. Criterion has given the film an all new hi-def restoration and it’s never looked this good. BUY BLU RAY

Born on the Fourth of July – Based on a true story, Tom Cruise stars as outspoken Vietnam veteran Ron Kovic a man who fought for his country and was later paralyzed in battle. It’s a harrowing look at the conflict between Kovic’s patriotic idealism (something he shared with so many soldiers like him) and his fight to overcome the many hardships he suffered due to the war (which stemmed from lies the US government told) during one of the most unpopular periods in American history. Co-starring Frank Whaley, Willem Dafoe, Jerry Levine, Josh Evans. Directed by Oliver Stone. BUY BLU RAY

The Dark Knight Rises viral marketing campaign has been restarted! If you goto the site you’ll see a police case file slideshow on the Batman which leads to a list of locations that fans must submit photos of to see the new trailer. View some images from the trailer: HERE. You can also see it on the big screen this Friday when it makes its premiere before The Avengers!

Take a look at the International Trailer for Ridley Scott’s upcoming space adventure PROMETHEUS. NOTE: Beware for story spoilers!

By the way are you following us on Twitter, Facebook and Google+?

Kurt Russell plays Rudy Russo, the epitome of a what you expect a used car salesman to be. He talks fast, thinks fast and always has an angle. He also knows the cars he’s selling are complete pieces of junk, but he does his best to cover up all their damages. At one point he even uses some chewing gum to keep a bumper stuck on. Rudy’s boss is the kind old Luke Fuchs (Jack Warden) who has an ongoing battle with his twin brother Roy L. (also Warden) a real bastard. The two happen to own car dealerships across the street from one another. While Roy’s business is doing quite well, Luke is barely getting by at New Deal (the name of his his lot) which is filled with clunkers. The only way he can make any moulah is through Rudy and his co-worker Jeff’s (Gerrit Graham) wheeling and dealing, but it’s apparent that its hardly working. In one hilarious scene Rudy goes so far as to use a fishing pole with money pinned on a hook to lure a potential buyer over from Roy L’s lot. Rudy also has his own dreams of running for public senate, which is perfect because like most politicians he’s an ace at tricking people into believing him! He even convinces Luke to invest $10,000 for his political campaign in exchange for keeping New Deal going.

When Roy L. is suddenly notified that the city is planning to put a highway overpass right through his property, he has to figure out some way to stay in business. He comes up with a cruel plan: to give his own brother Luke a heart attack since he thinks he’s next of kin in the business trust. Roy L. sends an ex-demolition derby driver (Michael Talbott) over to New Deal to act as a potential buyer. He gets Luke to go with him on a test drive which turns out to be a car ride from hell as the guy races the vehicle up and down the street, crashing into barriers thus re-triggering Luke’s ongoing heart problem. Tragically Luke dies afterwards, leaving a shocked Rudy, Jeff (who’s obsessed with having bad luck) and New Deal’s mechanic Jim (Frank McRae) to try to cover up his death by telling Roy L that Luke flew to Miami the previous night. Roy L. remains suspicious about this claim as the guys do their best to keep New Deal open. They even go so far as to bury Luke in an old car right in the yard in the meantime.

Due to Luke’s sudden passing and Rudy’s need for campaign financing, he and the guys must pull a variety of slippery scams to get folks to come to the lot. Their main strategy is bringing in two of their tech guru buddies Freddie Paris (David L. Lander) and Eddie Winslow (Michael McKean) to film hysterically funny TV commercials placed over important broadcasts such as football games and Presidential addresses. This ploy actually works beautifully, and through their desperate methods they seem to be succeeding. Things get slightly more complicated when Luke’s estranged daughter Barbara (Deborah Harmon) abruptly shows up looking for him. That adds yet another person they must keep in the dark. Soon after meeting, Rudy falls in love with the kind, tenderhearted Barbara and the two begin a relationship. Meanwhile, Roy L. has a video expert edit a New Deal commercial featuring her. They alter the audio so she’s proclaiming they have a full mile of cars on the lot. This false advertising is just what Roy L needs so he can take New Deal to court (theres a gem of a cameo with The Munsters’ Al Lewis as the judge). Rudy, ever the quick thinker, figures out a way to get the vehicles they need to win the court case. He uses his senate race investment to pay for 250 cars owned by his Mexican pal/dealer Manuel (Alphonso Arau). Rudy next calls up Mr. Chartner (Woodrow Parfrey) a driving instructor he was previously selling some cars to, to bring his students down to drive them all back to the lot.

Robert Zemeckis and Bob Gale’s brilliant script features crackling dialogue and sidesplitting gags. The actors are all on point delivering memorable comedic performances that are so full of energy and high falutin humor. I’ve read different comments about how this film seems to mix too many things into the pot at once, but I disagree. Sure, Used Cars on first viewing may seem to bombard you with alot of simultaneous information, but it not only gets clearer each time you watch it, it gets better as well.

In closing I just wanted to reiterate my initial thoughts about how I feel this film relates to what goes on in Hollywood. As much as I love the characters like Rudy and his gang and are on their side throughout the film, when it comes to this New Deal version of Cinema going on presently with various filmmakers (I won’t mention any names) specifically making money from doing BAD remakes, using modern technology as a guise for their cash schemes etc, I refuse to support it. I simply feel artists should at least do honest work and not simply use classic cinema as fodder to make more money. Thats not what real art is about. Furious Cinema was initially started because we felt a need to address things like this. We will continue to voice our opinions on these various matters (whether or not people agree or want to hear it) simply because we care and it is our right to do so.

FURIOUS FILM TRIVIA

- The stunt coordinator felt the impact of the 1974 Mercury Montego jumping the train, and hitting the pavement was too much for a stunt driver to take. So, a dummy was put in the driver’s seat, and the car was pushed toward a ramp at high speed, and let go.

- When Rudy (Kurt Russell) comes home from his promotional car spot with the hookers, he makes a nod to the statue of rock-and-roll legend Elvis Presley that’s sitting on his dresser. Russell began his film career with a cameo in Presley’s It Happened at the World’s Fair, and later portrayed Elvis in Elvis. He also played an Elvis impersonator two decades later in 3000 Miles to Graceland.

- At the football game when Michael McKean and David L. Lander hack the satellite, just before the camera comes on you can see the two original “penis noses” in a box. These were the original gags for Gerritt Graham and Kurt Russell, but Columbia executives put the kibosh on those gags, replacing them with bouncing eyeball glasses.

According to Bob Gale in the Commentary, producer Steven Spielberg was appalled by Rudy’s line about President Jimmy Carter: “Hey, he fucks with us…” Spielberg was a supporter of Carter. Robert Zemeckis and Gale refused to remove the line because where they came from (Gale is from Missouri and Zemeckis is from Chicago) politicians are (in their opinion) corrupt.

After the commercial where Jeff shoots up the cars on Roy Fuchs’s lot, he is interviewed by the FBI. In the scene, he blames the attack on Arab terrorists. At the time of this movie’s release, the Iran hostage situation was going on. According to Bob Gale in the DVD Commentary, an alternate version of the scene was shot in which Jeff blames a different group for the act in case the Iran situation was resolved before the film was released. It wasn’t and Jeff’s false accusation was still relevant when the film came out.

On the judge’s desk there is a mini gallows. When he pushes the button a small doll can be seen being hung. The doll is a Han Solo Star Wars: Episode IV – A New Hope action figure.